If we carefully observe Aurore Missud’s works we can see two different currents. Two different ways of painting; two ways of seeing the world, in a parallelism without convergence. In Aurore we can find Fontana’s Spatialism. She goes very close to the cut of the canvas. She doesn’t create it, but she manages to give the impression of it, and lead our subconscious to travel on the wonderful motorways that are her works, just to invite us to enter inside them, in an indirect and subtle way. While Fontana’s cuts lead the viewer directly into space and lets him discover the sense of the universe by himself, Aurore’s rapid and secure lines transport us into different worlds, some bound to the future, others to nature.
We can see skies, or maybe they aren’t skies; they are thoughts. Indistinct forms that emerge from our minds and only some, or few people have the luck to be able to read them and understand. Strong colours, tempestuous seas, flows of lava or, at a closer look, semihidden faces that observe us and scrutinize us.
Aurore is an important artist that sends a message; a universal message where everything depends upon the ability to analyse, on the will to comprehend, and if well used, helps us understand ourselves. Her works are strength, power, contrast, mystery, music. In her abstract expressionism, because her works are not only abstraction, but also, as already mentioned, a world of unknown faces that look at us; a world of ghosts imprisoned in her fantastic colours. A world in which we want to immerse ourselves, in order to find ourselves.